SUGAR CAGE

In this muddled first novel, two lower-income white families in 1960's Florida, quarrelsome friends and neighbors, fall apart, to the distress of their black guardian angel. That's Inez Temple, who in 1945 is a maid at the St. Augustine motel where the two pairs of newlyweds (Rose and Charlie Looney, Eudora and Junior Jewel) are staying. Tending the already pregnant Rose, the clairvoyant Inez sees that the new marriage will be a cage, and 15 years later, that's what Rose sees too; Charlie cheats on and abuses her, though Rose still craves the ``sweet poison'' of his touch; but their son Emory, bitter and disgusted, leaves home for good. Meanwhile, tragedy strikes the second-fiddle Jewels: Junior dies of cancer, and to please Eudora, Charlie gives him a clandestine burial under his favorite backyard oak, though Inez knows this will mean trouble ahead (she's the only one in the bunch with a lick of sense). Fowler has more on her mind, however, than the domestic upheavals of these rather dull, unpleasant people; she is preoccupied with race and the spirit-world, though unable to blend these smoothly into her narrative. So she sends Emory to cut sugar-cane in his uncle's fields, where he falls in love with Soleil Marie Beauvoir, a young Haitian and a far more fervent believer in spirits than Inez, and learns how white Floridians feel about interracial dating in 1963. The author also has Charlie participating in an anti-civil rights demonstration, and Inez warning Martin Luther King's people of the impending tragedy in Memphis. Fowler has further burdened herself with a tricky multiple- narrator technique; her nine different narrators fragment an already fragmented story whose (unintended?) subtext is the folly of white folks.

Pub Date: Jan. 9, 1992

ISBN: 0-399-13681-9

Page Count: 320

Publisher: Putnam

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Oct. 1, 1991

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ANIMAL FARM

A FAIRY STORY

A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.

Pub Date: Aug. 26, 1946

ISBN: 0452277507

Page Count: 114

Publisher: Harcourt, Brace

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: Aug. 1, 1946

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With her second novel, Ng further proves she’s a sensitive, insightful writer with a striking ability to illuminate life in...

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LITTLE FIRES EVERYWHERE

This incandescent portrait of suburbia and family, creativity, and consumerism burns bright.

It’s not for nothing that Ng (Everything I Never Told You, 2014) begins her second novel, about the events leading to the burning of the home of an outwardly perfect-seeming family in Shaker Heights, Ohio, circa 1997, with two epigraphs about the planned community itself—attesting to its ability to provide its residents with “protection forever against…unwelcome change” and “a rather happy life” in Utopia. But unwelcome change is precisely what disrupts the Richardson family’s rather happy life, when Mia, a charismatic, somewhat mysterious artist, and her smart, shy 15-year-old daughter, Pearl, move to town and become tenants in a rental house Mrs. Richardson inherited from her parents. Mia and Pearl live a markedly different life from the Richardsons, an affluent couple and their four high school–age children—making art instead of money (apart from what little they need to get by); rooted in each other rather than a particular place (packing up what fits in their battered VW and moving on when “the bug” hits); and assembling a hodgepodge home from creatively repurposed, scavenged castoffs and love rather than gathering around them the symbols of a successful life in the American suburbs (a big house, a large family, gleaming appliances, chic clothes, many cars). What really sets Mia and Pearl apart and sets in motion the events leading to the “little fires everywhere” that will consume the Richardsons’ secure, stable world, however, is the way they hew to their own rules. In a place like Shaker Heights, a town built on plans and rules, and for a family like the Richardsons, who have structured their lives according to them, disdain for conformity acts as an accelerant, setting fire to the dormant sparks within them. The ultimate effect is cataclysmic. As in Everything I Never Told You, Ng conjures a sense of place and displacement and shows a remarkable ability to see—and reveal—a story from different perspectives. The characters she creates here are wonderfully appealing, and watching their paths connect—like little trails of flame leading inexorably toward one another to create a big inferno—is mesmerizing, casting into new light ideas about creativity and consumerism, parenthood and privilege.

With her second novel, Ng further proves she’s a sensitive, insightful writer with a striking ability to illuminate life in America.

Pub Date: Sept. 12, 2017

ISBN: 978-0-7352-2429-2

Page Count: 384

Publisher: Penguin Press

Review Posted Online: June 20, 2017

Kirkus Reviews Issue: July 1, 2017

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